Although Hasegawa employs simple and elementary forms, clear proportions, nothing striking outrageous and everyday materials, something makes him an innovative architect. It is the arrangement of the masses that produces new relationships between the top and bottom, inside and outside of the spatial and social entity.

In Kyodo House, the owners — in accord with Hasegawa — decided to tacitly ban printed matter from the second floor of the house to balance the overflow of magazines and books. Essentially, it is a question of harmony and the slender balance between opposites at which the Japanese frequently achieve so successfully.